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The wingless Evangelists of Žitenice

100%

Ottová M., Leffová L.

Umění (Art)

2023

vol. 71

issue 4

312-323

Since the find of the so-called winged Evangelists in Žitenice, the literature on the subject has been exploring their subject-matter, function and placement. After the head of the fourth figure was discovered, the investigation of their origin in the no-longer-extant Romanesque building of the Church of SS Peter and Paul in Žitenice gained momentum. However, the group of statues seems to have been incorporated into the exterior of the building perhaps only much later, in the 17th century, following the return of the Žitenice estate to the Vyšehrad Chapter, which may have been related to Counter-Reformation strategies. Nor can their origin in the chapter church at Vyšehrad or Litoměřice be ruled out. Once the statues had been removed from the walls, lateral formations were identified cropping from the sides like wings, which provoked a discussion about their subjectmatter and placement. Current research into the diverse manner of sculptural treatment has established later interventions on the so-called wings that had originally been smooth slabs linking the statues into an architectural whole, one which also included a technically demanding turned shaft. It is probable that formerly this had been an interior arrangement formed of a group of Evangelists, or apostles (flanking the Enthroned Christ), composed of panels framed by blind arcades, intended perhaps for a lectorium or gallery. An analogical ensemble has been detected in the choir screen from Gustorf (mid- 12th century) produced in the so-called Workshop of the Brauweiler Cloisters in Cologne. There we find the sculptor of the Žitenice statues that are formally related to the relief from the so-called Judith’s Tower in Prague. The first specialized sculptural workshop in the third quarter of the 12th century emerged through the departure of master sculptors from Cologne to Prague, where it operated concurrently, not deriving its workshop style from the Cologne milieu with a much longer time gap. Who specifically initiated the transfer of a part of the experienced workshop or building lodge remains unknown. Various eminent figures close to the court of Vladislaus II come into consideration, among them the Vyšehrad provost Gervasius, or even Bishop Jindřich Zdík.

Od nálezu tzv. okřídlených evangelistů v Žitenicích zkoumá literatura jejich námět, funkci i umístění. Po objevu hlavy čtvrté postavy rozvinulo bádání tezi o původu v nedochované románské stavbě kostela sv. Petra a Pavla v Žitenicích. K zapojení souboru soch do exteriéru stavby však došlo asi až v 17. století, po navrácení panství vyšehradské kapitule, což mohlo souviset s protireformačními strategiemi. Vyloučit nelze ani jejich původ v kapitulním kostele na Vyšehradě či v Litoměřicích. Po vyjmutí soch ze zazdívek byly identifikovány boční útvary vyrůstajících ze soch jako křídla, což rozvinulo diskusi o jejich námětu a umístění. Aktuální průzkum rozdílného způsobu sochařského opracování prokázal sekundární zásahy na tzv. křídlech, které byly původně hladkými deskami spojujícími sochy do architektonického celku, který zahrnoval i technologicky náročnou soustruženou patku. Je pravděpodobné, že původně šlo o interiérový celek tvořený řadou evangelistů — či apoštolů (kolem trůnícího Krista), složený z desek rámovaných slepými arkádami, určenými snad pro lektorium či emporu. Analogické uspořádání nalézáme v oltářní přepážce z Gurstorfu (pol. 12. stol.) zhotovené v tzv. Brauweilerské dílně v Kolíně n. Rýnem. Zde nalézáme i sochaře žitenických soch, stejně jako na reliéfu z tzv. Juditiny věže v Praze. První specializovaná sochařská dílna v Čechách v době třetí čtvrtiny 12. století vznikla odchodem specializovaných kameníků z Kolína n. Rýnem do Prahy, kde působila ve stejné době a svůj dílenský styl neodvozovala z kolínského prostředí až s výrazným časovým odstupem. Konkrétní iniciátor přesunu části zkušené dílny či hutního provozu není znám. Nabízí se osobnosti blízké dvoru Vladislava II. — vyšehradský probošt Gervasius, či přímo biskup Jindřich Zdík.

Identification of John and Matthew in Some Nubian Paintings of Twelve Apostles

63%

Łaptaś M.

Vox Patrum

2024

vol. 91

389-412

This paper aims to show how, in certain Nubian paintings depicting apostolic colleges, the evangelists John and Matthew can be identified by the attributes they hold, namely books. Theoretically, a book is an attribute that can define many figures involved in writing or preaching, such as saints (especially bishops in Nubian paintings), apostles, evangelists and Christ. However, in these particular paintings I am describing, only two of the apostles are holding books and these are the evangelists John and Matthew. The other apostles hold rotuli, while Peter is singled out through the key. My argument is based not only on the attributes, but also on an analysis of other elements such as the position of the apostles in the whole college, their physiognomic types, and finally the surviving inscriptions. However, we should remember that not all Nubian paintings are preserved intact. In many cases, large fragments of figures, including their faces, are missing.Therefore, several elements must be taken into consideration during the interpretationof the content of the paintings. The research I have carried out can be helpful inidentifying the individual figures that make up the apostolic college. It also shows howNubian iconographers consciously used the language of symbols by differentiatingbetween the earthly and heavenly hierarchies.

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1 Umění (Art)

1 Vox Patrum

1 Leffová L.

1 Ottová M.

1 Łaptaś M.

1 2024

1 2023

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The wingless Evangelists of Žitenice

Identification of John and Matthew in Some Nubian Paintings of Twelve Apostles